Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.

Thesis (M.A.)--Marshall University, 2009. / Title from document title page. Includes abstract. Document formatted into pages: contains 29 p.

Thesis (M.A.)--University of Toledo, 2010. / Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Masters of Musical Performance Degree." "A thesis entitled"--at head of title. Title from title page of PDF document. Bibliography: p. 84-86.

Thesis (Ph. D.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 346-354).

No scholarship yet exists on Erin Gee’s extensive Mouthpieces catalogue, aside from her own program notes and non-academic reviews of her work. My dissertation endeavors to remedy this gap through analyses of two formative works by Gee, Mouthpiece I (1999/2000) for solo voice and SLEEP (2008), an opera in 12 scenes for two voices, choir, and mixed ensemble. This dissertation is the offspring of two seemingly disparate theoretical influences: Pierre Schaeffer’s Traité des objets musicaux and Marion A. Guck’s definition of analysis as interpretation. In Chapter 1, I introduce Schaeffer’s reduction to the objet sonore as an analytical methodology, then interrogate the pros and cons of this method through the lens of feminist and post-humanist scholarship as well as sound studies focusing on vocal physiology. Chapter 2 considers the historical legacy of experimental non-semantic vocality in the United States, and considers how Afrodiasporic vocal techniques in jazz and gospel weave their way into Eurodiasporic experimentalism generally and Gee’s music in particular. I also ask why these hugely prevalent genres in both commercial and academic music circles fail to be included in standard scholarly narratives of non-semantic vocality in the United States. In Chapter 3, I propose an idiosyncratic typology and typomorphology for Mouthpiece I as an analytical framework for understanding the building blocks of Gee’s music more generally. I than take a broader look at the relationship between form and materials in SLEEP to consider how Gee intertwines semantic and non-semantic vocality to replace the operatic norms of high drama and individual virtuosity with an intimate, collective sonic ecology that presents both human and non-human on stage at the same time.

Thesis (M. Mus.)--University of Canterbury, 2008. / Typescript (photocopy). Includes bibliographical references (leaves 75-83). Also available via the World Wide Web.

The dissertation researches the contemporary jazz vocalist Kurt Elling. His background, performing career and successes are explored before his artistry as a performer and pedagogue are examined in detail. A personal Skype lesson and a personal interview form part of the research material. Elling’s improvisatory art and his relationship with and opinions on scatting, and especially jazz vocalese are portrayed. To this end the author’s transcription of Elling’s vocalese based on Downtown (by Russel Ferrante) is included. Elling’s influence, creativity, spirituality and infusion of poetry into jazz are also investigated in order to show how he inspires audiences and students alike. The history of, and general descriptions of various jazz vocal styles are traced, whereafter the situation regarding the jazz vocal scene in South Africa is outlined. Local jazz vocal teaching in particular, and associated problems are discussed, and recommendations made. The author utilises her background as an accomplished performer and teacher to infuse these discussions with personal insights. Elling’s opinions on how cultural and ethnic differences can inspire South African jazz vocalists are also delineated. / Dissertation (MMus)--University of Pretoria, 2014. / lmchunu2014 / Music / unrestricted

This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.

Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.

MAAS / Department of Music.